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Kunstvereniging Diepenheim and the Jindřich Chalupecký Society (Czech Republic) proudly present the group exhibition (Dis)connection, with installations, sculptures and video works by thirteen international artists. The exhibition brings together various artistic positions that are connected by shared concern: how can we live together?

Tate Modern unveils a major exhibition of the work of pioneering artist Dorothea Tanning (1910-2012). Organised in collaboration with the Museo Nacional Centro de Arte Reina Sofía in Madrid, it is the first large-scale exhibition of her work for 25 years and the first ever to span Tanning’s remarkable seven-decade career. Bringing together some 100 […]

To mark the 100th anniversary of Bauhaus, Die Neue Sammlung is having an exhibition that discusses the significance of this pioneering reform design college today. Simultaneously, Die Neue Sammlung is taking the opportunity to highlight its own historical links to Bauhaus. For the first time the museum will showcase historical objects from its own holdings […]

Czech visual artist Roman Kames will present the talk and exhibit A Far Cry, paintings inspired by his time spent in the mountains of Ladakh – the western Himalayas, at the Embassy of the Czech Republic on January 24, 2019, at 6 pm.

Probíhající výstavy

Talk of living out in the countryside inevitably conjures up all sorts of images before our mind’s eye. Descriptions range from the romanticism of farming life to the dreariness of life in the provinces, shaped as much by personal experiences as by anecdotes and depictions consumed via the media – the image of village life and the reality of it at times worlds apart. In a photographic and artistic analysis of what life in the countryside is like today, the exhibition Über Leben am Land at the KUNST HAUS WIEN focuses on Europe and the US.

To redefine border regions as an integrated whole is a critical challenge for architectural, political, and cultural institutions today. The exhibition brings together research and design results of an academic initiative, launched by Mexican architect Tatiana Bilbao in 2018. Interdisciplinary architectural and urban concepts of 13 participating architecture studios from universities across Mexico and the United States are presented on the basis of drawings, pictures and models. The approaches explore numerous topics such as migration, housing or natural resources—with a focus on one common region rather than two nations.

Archi-Tectonics was founded by Dutch architect Winka Dubbeldam in 1994 with offices in New York City, the Netherlands and China. She and Justin Korhammer, Partner since 2016, collaborate with a diverse team of designers, engineers, consultants and contractors on multiple scale projects, spanning from city plannings and buildings to interiors and design objects. Their award-winning work is widely known and recognised for its use of hybrid sustainable materials and smart building systems as well as its elegance and innovative structures.

Iiu Susiraja (b. 1975) has degrees in textile design and photography from the Finnish Academy of Fine Arts, where she studied 2012–2016. This is her first extensive museum exhibition in Finland. In addition to photographs and videos, it also includes an installation.

Born in Poland and based in London, Piotrowska has an interest in domestic spaces and man-made environments. For one series of works she asked people in Lisbon, Rio de Janeiro, Warsaw and London to build makeshift shelters in their homes and gardens, subverting childhood play. Other works present gestures and movements from self-defence manuals, implying violence against women as well as their empowerment. Her photographs and films relate to self-protection, psychophysical relationships and the power dynamics underlying how we relate to each other. Her work was included in Being: New Photography 2018, MoMA, New York and 10th Biennale Berlin, 2018, Germany and forthcoming projects include a solo show at Kunsthalle Basel in the autumn 2019.​

Taking designs for interiors produced during the Modernist period as a starting point, contemporary artists are presenting their own spatial concepts and exhibition designs in the Albertinum. Since the mid-1980s the artist Heimo Zobernig has been experimenting with the design of interiors and the presentation of art, as well as with geometric abstractions like those of Piet Mondrian. In a series of paintings created successively from the year 2000 onwards, he has used materials such as acrylic paint and tape to investigate the grid structure as an avantgarde form of expression since the Modernist era.

The exhibition at the Deichtorhallen Hamburg and the accompanying program of musical events at the Elbphilharmonie, HYPER! SOUNDS, includes more than 60 international artists and musicians who explicitly work between ​​the disciplines of art and music and – often unnoticed by the broader public – decisively integrate references from both these areas into their art. Superstars from the worlds of art and music such as Andreas Gursky, Kim Gordon, Alexander Kluge, Rosemarie Trockel, and Wolfgang Tillmans will be featured alongside avant-gardists such as Arthur Jafa, Thomas Scheibitz, Peter Saville, and Arto Lindsay. The exhibition is narratively underpinned by dozens of interviews that Max Dax conducted with the participants in HYPER! in recent years.

The glowing tension of invisible connections, the unveiling of unspeakable feelings and the unleashing of fantasy create the inimitable atmosphere of the exhibition of works by David Lynch. The filmmaker’s surreal images based on photo montages as well as reinterpreted portraits and reproductions open up dimensions of space and time, making up a universe well known from Lynch’s films. Small Stories takes visitors on a psychedelic journey through the world of emotions, humour, playfulness and restlessness, while unveiling past memories and scars. Similarly to his films, these images are dominated by dreams with the fundamental driving force of his poetic vision being the connection between the subconscious and reality.

What are young artists who live and work in Vienna interested in? What subjects are in the air, what strategies do they use? The exhibition On the New. Young Scenes in Vienna is conceived as a stroll through local art communities: it brings together 18 individual artistic approaches as well as 12 independent exhibition spaces. In this show, specifically produced works are juxtaposed with specially arranged exhibitions within the exhibition; artistic and curatorial formats combine to create a dynamic entity that will change over the course of the show.

Tate Modern unveils a major exhibition of the work of pioneering artist Dorothea Tanning (1910-2012). Organised in collaboration with the Museo Nacional Centro de Arte Reina Sofía in Madrid, it is the first large-scale exhibition of her work for 25 years and the first ever to span Tanning’s remarkable seven-decade career. Bringing together some 100 works from across the globe, over a third of which are shown in the UK for the first time, the exhibition explores how she expanded the language of surrealism. From her early enigmatic paintings, to her ballet designs, uncanny stuffed textile sculptures, installations and large- scale late works, it offers a rare opportunity to experience the artist’s unique internal world.

Ornament as Promise was the premise of the Pattern and Decoration movement in the United States (1975–1985). In this exhibition, mumok presents the rich collection of works from this movement of Peter and Irene Ludwig, in the largest presentation of Pattern and Decoration in German-speaking Europe since the 1980s. With oriental-style mosaics, monumental textile collages, paintings, installations, and performances, in the 1970s committed feminist artists like Miriam Schapiro, Joyce Kozloff, Valerie Jaudon, and Robert Kushner aimed to bring color, formal diversity, and emotion back into art. Decoration played a key role, with its connotations of the techniques of artisanship. Various ornamental traditions, from the Islamic world to North American Indians to Art Deco, were incorporated in their works, opening up a view beyond geographical and historical boundaries. A proximity to folk art was sought as a deliberate counter to the “purism” of the art of the 1960s.

American artist Anne Collier (*1970) questions the medium of photography by working with found materials from popular culture. Her conceptual works are based primarily on photos of the 1970s and 1980s, gleaned from magazines, advertising, record covers, book illustrations and film stills. By photographing these printed images and putting them into new contexts, she pursues a reflexive archaeology of the uses of photography. Collier is interested, above all, in images with an emotive visual undertone, such as waves, eyes, clouds and romanticised sexism. With analytical elegance, Collier reflects the deceptive imagery that shapes our everyday lives and, in doing so, reveals the tension between the photographic subject and the act of photographing.

In a comprehensive survey of her oeuvre that represents the key phases of her artistic career, Swiss artist Miriam Cahn shows vibrant works on paper, oil paintings in bewitching colours, monumental sculptures, performative videos, and sketchbooks. (…) The title Miriam Cahn has chosen for the exhibition – I AS HUMAN – revolves around the artist’s deliberate and implicit commitment toward humanistic principles and the question of what comprises humanity at present. The artist’s images and exhibitions articulate, in an unequivocal and palpably visible and cogent way, her preoccupation with war, displacement and gender relations as well as her investigation of violence, love and the fragility of nature.

Founded in 1797 under the Directory, the Louvre Chalcographie holds over 14,000 engraved copperplates, used to make prints, and has the mission of disseminating the image of the museum’s masterpieces through the art of engraving.

The sounds design objects make are often just as characteristic as their design. And so from 21 February, 2019 visitors will able to listen to the sounds of various exhibition items from our collection thanks to the web-app Sound of Design. Using mobile devices or their home computers they will be able to delve into the world of design noises. Sounds range from historical telephones via the engine noises of iconic cars through to the clacking of a keyboard. We are adding sounds to our collection so as to integrate this acoustic dimension of our exhibition items into our presentation – above all with a view to the planned display area. By publishing this archive in our Web-app it will form part of the multimedia experience visitors can enjoy while also infusing life into objects that might otherwise seem remote museum pieces. By way of introducing Sound of Design we are launching a topical focus on the era of the German economic miracle (1950s/1960s), in which new electrical devices and with them diverse sounds entered people’s everyday lives.

he first major exhibition on Tudor and Jacobean portrait miniatures in the UK for over 35 years, Elizabethan Treasures: Miniatures by Hilliard and Oliver will bring together key works from the National Portrait Gallery and major loans from public and private collections to showcase the careers of the most skilled artists of the period, Nicholas Hilliard (1547? – 1619) and Isaac Oliver (c.1565 – 1617). In the sixteenth and seventeenth centuries, miniature painting was regarded as an art form at which the English excelled above all others, and Hilliard and Oliver gained international fame and admiration. The exhibition will explore what these exquisite images reveal about identity, society and visual culture in Elizabethan and Jacobean England. Highlights include Hilliard and Oliver’s portraits of Elizabeth I, as well as images of James I, his wife Anne of Denmark and his three children Henry, Elizabeth and Charles (later Charles I), and miniatures of some of the most famous figures of the day, such as Sir Walter Ralegh and Sir Francis Drake.

Discover an archaeology of living things and artificial life in an exhibition that presents, in a forward-looking manner, the recent works of fifty creators along with the research coming from scientific laboratories. The very material of the exhibition is evolving, certain works being involved in a process of growth or degeneration. One hundred projects are exhibited, several of which have been designed for the occasion.

Inspired by the figure of Tethys – a sea goddess in Greek mythology, the daughter of the sky (Ouranos) and of the earth (Gaia) – Julius von Bismarck has conceived the original project “Die Mimik der Tethys” (the expressions of Tethys), for which he has moved the oceans. That is at least the sensation produced by the presence of a buoy hung over the Palais de Tokyo’s Palier d’honneur, corroded by sea salt and covered by dry seaweed. In perpetual motion, the buoy reproduces the movements of its original setting, off the Atlantic coast. It is in this way that the visitors find themselves metaphorically under the ocean, and can directly perceive the sway of its waves, which can be either gentle, or wild. The artist works on the human perception of natural phenomena, either by using highly technical approaches, or by simple site specific gestures. As he puts it: “it’s about the perfect image we have of nature. In reality, it doesn’t look like we imagine it does in a Caspar David Friedrich pastoral painting.” The astonishing sensation created by his moving buoy does indeed depict a misappropriated or modified vision of nature, transforming the building into a submarine […]

With this original project, Franck Scurti is extending his stroll through art history and the signs of daily life. After approaching the social and economic crisis in a series of sculptures alluding to Van Gogh’s The Potato Eaters (2018), creating a remake with scraps from Edvard Munch’s famous Scream (Le Cri, 2011), the artist is here going back over Paul Gauguin’s Yellow Christ. The interest that Franck Scurti has for such figures is that, in their time, they set out to replace the cold positivism of impressionism by a new humanism. This is a transition that the artist finds to be salutary and active in the current world. The environment he has produced for the Païpe, conceived as a picture in three dimensions which the visitors are asked to walk around, is organised around a chair leg, rotated through 90°, with a Christ-like look. On the floor, his dismembered corpse produces a shock wave that reverberates across the entire space. The curved rear wall will be totally covered by a silk-printed pattern produced from a bag of baguettes found by the artist. This highly connotated pattern – a multiplication of bread – will then fade out progressively until its almost […]

“It’s strange, I must have been away too long, the faraway, my home, is in my dark dreams. It’s strange, with strangled words, while drowning. I screamed alone in the water, in a fever (…) Such will be the title of Julien Creuzet’s show; or not” “It’s strange, I must have been away too long, the faraway, my home, is in my dark dreams. It’s strange, with strangled words, while drowning. I screamed alone in the water, in a fever (…) Such will be the title of Julien Creuzet’s show; or not” is the beginning of a poem, a first-person litany, of a voice that soon doubles up and multiplies. It’s also the title of Julien Creuzet’s solo show at the Palais de Tokyo, or not. This exhibition will come alive in the form of secular pop songs. A deep-sea landscape in a plastic pool. An unaccentuated rhyme illuminated by a bluish light, turning around on itself. A parrot glitching with a guitar on its foot. A melodic meandering along jagged shores. An array of ragmen’s stalls at the Croix-de-Chavaux market. A breath and a riff. A choreographic score derived from a Dogon ceremony. Sirius B rotating to the beats […]

The Middle East, unrecognised countries, radioactive or forbidden zones seen as “unintentional natural parks” are all territories that Louis-Cyprien Rials has explored or inhabited. From these zones marked by violence or whipped up by great conflicts, the artist delivers a silent, sometimes mystical image, using video and photography. His moving pictures made up of still shots, which are often long and devoid of human presence, talk of the impossibility to grasp such abandoned, transformed spaces, filled with beliefs and run through with stigmata. Louis-Cyprien Rials is presenting at the Palais de Tokyo a film and a series of objects made with Ramon Film Productions. This production company, set up by Isaac Nabwana I.G.G., brings together Ugandans from various origins in a studio not far from the Wakaliga road, in a ghetto in the suburbs of Kampala, the capital of Uganda. Together, they have been writing and producing successful, low-budget films for over ten years. Their feature-length movies are inspired from Chinese Kungfu films and convey the violence of American action movies. With Louis-Cyprien Rials, they produce an adaptation of Rashomon(1950) by the famous Japanese director Akira Kurosawa. The result is hybrid: it mingles filmic and cultural references, while leaving open the […]

Some utterances are the very act that they describe. The philosopher of language J.L. Austin called them “performative” during a series of lectures in the 1950s – published posthumously as “How to Do Things with Words” and translated into French as “Quand dire c’est faire” (when saying is doing) – thus upturning linguistics by opening out a new field based on a theory of acts of language. As for Angelica Mesiti, for several years she has been developing research into non-verbal communication. Her ambitious video installations, both the fruition of long-term explorations and chance encounters, explore the potentialities of language which, beyond speech or writing, are contrary to any explicit expression, but still remain possible as a means of communication. As the artist says, “words are not my tool; all my training is about expression in a different way.” Her solo show at the Palais de Tokyo, the first in a French institution, is entitled “Quand faire c’est dire” (when doing is saying), a symbolic reversal of a performative utterance. Covering the 2012-2017 period, the exhibition highlights an iconic selection of Angelica Mesiti’s works, most of which having never been displayed in France. Deployed over a broader extent in the […]

For his first solo show in France, Theaster Gates has initiated a new project, pursuing the exploration of social histories of migration and inter-racial relations. He thus deals more exactly with questions of black subjugation and the resulting imperial sexual domination and racial mixing, while concentrating on an episode in American history. These themes allow Gates to explore new cinematographic, sculptural and musical futures while examining the history of land ownership and race relations in North Eastern, United States. The starting point of this exhibition, entitled “Amalgam”, is the story of Malaga Island, a small isle in the state of Maine, in the USA: In 1912, the governor of the state of Maine had all of its inhabitants expelled. This poor population, made up of an interracial, mixed community of about 45 people, considered to be “indolent” by many of the local inhabitants, was forced to spread out through the region, some of them even being condemned to psychiatric institutions. The term “Amalgam”, which currently seems outdated in English-speaking culture, was used to describe a racial, ethnic and religious mingling. It has acquired for Theaster Gates a “loaded” significance, calling for a new series of works made up of videos, […]

Franz West (1947–2012) brought a punk aesthetic into the pristine spaces of art galleries. His abstract sculptures, furniture, collages and large-scale works are direct, crude and unpretentious. Visitors to this major retrospective will be able to handle replicas of his Passstücke (Adaptives) – papier-mâché pieces made to be picked up and moved. They were a turning point in the relationship between art and its audience. He also created playful sculptures incorporating objects from everyday life such as a hat, a broom, or even a whisky bottle. In his final years he produced large, brightly coloured and absurd sculptures both for galleries and public spaces. Born and based in Vienna, West collaborated with numerous artists, musicians, writers and photographers. He has been a vast influence on younger artists – his friend and collaborator Sarah Lucas has contributed to design of the exhibition.

Following the acquisition in 2018 of ‘Grodenstraße nach Varelerhafen’ (Polder Road to Varel Harbour), dating from 1938, the Sammlung Moderne Kunst is staging an exhibition on Franz Radziwill, one of the most important representatives of Magic Realism. The focus is on his Expressionist early work as a continuation of the ‘Brücke’, as well as on his involvement with the Nazi regime – between conformity and defamation as a ‘degenerate’ artist. One of Radziwill’s canvases, painted on both the front and back, is being exhibited for the first time showing both sides, to highlight the break between an Expressionist early work and a principal work of Magic Realism.

Invited work. Marriages of Martín de Loyola to Beatriz Ñusta and Juan de Borja to Lorenza Ñusta de Loyola The scene depicted in this anonymous painting brings together two weddings that occurred at different times and places with the purpose of showing the blood ties between the Inca dynasty and descendants of two of the founders of the Society of Jesus, Saint Ignatius of Loyola and Saint Francis Borja. The conquest of America was thus represented as a harmonious union between the vanquishers and the vanquished.

This ‘archival’ exhibition of The Brotherhood of New Blockheads (1996-2002) is special, being the first time the group has been presented officially on the international stage. In what way is the legacy of the New Blockheads of interest today? It is in part quite logical, for it was born in a time when a deficit in the present and a crisis of utopian ideals made looking to the past the only source of hope. Utterly in keeping with their own time, standing apart from any fixed styles or trends, The Brotherhood of New Blockheads was everything we could want of art: daring, despairing, naive, radical. Their legacy is relevant today for it provides a model for frank and uncompromising artistic behaviour, for maximum sincerity, something which is so keenly lacking in the world today.

The exhibition by New York-based, German-Croatian artist Genoveva Filipovic is titled Shiva 2019 ✆. Her art seems enigmatic, but light; it is hermetic, yet open, serious, yet oblique. (…) What is shown in Shiva 2019 ✆ ? The exhibition consists of 17 works on canvas, made specifically for Kunsthalle Zürich, five identical posters, flat cardboard and a series of round prints on paper, which have been placed beneath the paintings as if they were train wheels.

Plain and functional elegance, colourful Pop Art, a historical cathedral flavour – the metro stations built in Berlin between 1953 and 1994 with their distinctive post-war and post-modernist feel are still a defining feature in the daily lives of Berlin’s residents. Once threatened by radical revamps, 27 of these 82 undergound structures are now listed monuments, thanks to a dedicated younger generation of academics, photographers and film-makers.

The ALBERTINA Museum is presenting a comprehensive selection of the most outstanding works from the Princely Collections under the title From Rubens to Makart. The museum is also devoting a simultaneous exhibition to the Viennese watercolor, an important and central category of works within the Princely Collections, in an exhibition entitled Rudolf von Alt and his Time. Well over 100 of the most important paintings and sculptures from the exquisite collection of this family, rich in tradition like few others in Europe, span an impressive range from the Early Renaissance in Italy to the Baroque period, from Viennese Biedermeier to the historicism of the Makart era. Iconic works such as Antico’s Bust of Marcus Aurelius, which was acquired for the Princely Collections just recently, the life-size bronze sculptures of Adrian de Vries, and Peter Paul Rubens’s famous Venus in Front of the Mirror are the focus of an exhibition that amounts to a veritable promenade through five centuries of art history.

IN-SIGHT has set its focus on the 1809 figural group sculpture entitled Mars and Venus with Cupid, by Upper Austrian sculptor Leopold Kiesling. The exhibition reveals the work’s political topicality against the backdrop of the marriage of Napoleon I and the daughter of Emperor Francis II (I), Marie Louise.

Toy Animals from the Soviet Union presents an exemplary selection of original toys produced between 1950 and 1980. Approximately 200 figures by eleven artists – all sourced from the Köpcke & Weinhold Collection, which comprises more than 400 objects in total.

The exhibition introduces selected aspects of Venetian cinquecento painting in eight sections: for example its atmospherically charged landscape depictions, its ideal likenesses of beautiful women (the so-called “belle donne”), or the importance of colour. The thematically oriented chapters will together form a systematic panorama of the extensive material. Apart from the Venetian holdings in the Städel collection – including, Titian’s “Portrait of a Young Man” (ca. 1510) – the show brings together superb loans from more than sixty museums in Germany and abroad.

This exhibition springs from The House of Dust, a seminal yet under-recognized late 1960s work by Fluxus artist Alison Knowles. Originally called The Play House, this intermedia piece serves as an entry point into contemporary investigation of the relationships between architecture, technology, and performance. In a text titled Shelter or Playground, R.M. Schindler described his house as a “playground” that “grows with its inhabitants” and where “life will regain its fluidity.” Today, the house open its doors to contemporary artists who have been invited to produce site-specific works, responding to both architectures by Schindler and Knowles and translating them into multiple performative forms.

For Pablo Picasso (1881-1973) graphic art was a medium he could experiment with to his heart’s content. Picasso produced over 2,500 prints in a great variety of techniques. Museum Boijmans Van Beuningen has nearly four hundred of these prints in its collection, a selection of more than seventy of which will now be shown at the Kunsthal. Some of the highlights in the exhibition ‘Picasso on paper’ include the colour linocut prints depicting still lifes, bull fights, scenes from mythology and especially women. Picasso taught himself the technique of the colour linocut in 1958, when he was already well into his seventies. This exhibition also marks the start of ‘Boijmans Next Door’, a collaboration between a number of Rotterdam museums to keep part of the Boijmans collection visible in the city over the coming years.

‘The Anarchist Citizenship. Ode to Youthful Daredevils’ is a project by the researcher Amal Alhaag (1983) and the socially committed artist Nadine Stijns (1977) about the people of Somaliland. Since 1991, this territory in northwest Somalia has been operating as a self-declared independent state. In ‘The Anarchist Citizenship’, the duo researches how the Somalilanders are giving shape to their citizenship through fashion, architecture, friendship and culture. In collaboration with the depicted women, young people and other locals – often acting as art directors – Stijns and Alhaag manage to capture the unique visual culture of the Somalilanders in their photographs. Shown on silk fabric and plexiglass, the dozens of colourful photographs present an image that is much more nuanced and varied than dominant western views would suggest.

In collaboration with MoMA PS1 New York, KW presents a solo exhibition around the work of the late Iranian theater director Reza Abdoh (1963–1995). Over a career that spanned twelve years, Abdoh pushed his actors—and audiences—to their limits. His aesthetic language was relentlessly, recklessly inventive, borrowing from fairy tales, BDSM, talk shows, raves, video art, and the history of avant-garde theater. The hallucinatory dreamscapes he produced spoke forcefully and eloquently to the ugly political realities of his time—from government-sanctioned racism to the Reagan administration’s refusal to acknowledge the AIDS crisis to warmongering at home and abroad.

David Wojnarowicz (1954–1992) came into prominence in the East Village art world of the 1980s, actively embracing all media and forging an expansive range of work both fiercely political and highly personal.(…) KW Institute for Contemporary Art is pleased to present the exhibition Photography & Film 1978–1992 that will be the first to solely concentrate on Wojnarowicz’s photographic and filmic work. It will present over 150 works including photographs, test prints, silkscreens, 16mm and super-8 film, and collaborative video works.

The ALBERTINA Museum is devoting a comprehensive solo presentation to the works of photographer Manfred Willmann (*1952). In his series, Willmann captures scenes from his personal surroundings in Graz and southern Styria, scenes that break with clichés of idyllic rural life. His pictures reveal a very direct and subjective view characterized by his consistent use of the flash and focus on details. Willmann is also one of the first Austrian photographers who used color as a means of artistic expression. The ALBERTINA Museum is showing six large series from Manfred Willmann’s oeuvre, including the influential work groups Schwarz und Gold and Das Land.

To mark the 100th anniversary of Bauhaus, Die Neue Sammlung is having an exhibition that discusses the significance of this pioneering reform design college today. Simultaneously, Die Neue Sammlung is taking the opportunity to highlight its own historical links to Bauhaus. For the first time the museum will showcase historical objects from its own holdings in Munich. In cooperation with the artist Tilo Schulz an installation is realized interlocking 40 historical objects and responses to them by five contemporary artists. Invitations have been taken up by designer Ayzit Bostan, poet Barbara Köhler, architect Anupama Kundoo, composer Junya Oikawa, and artist Sofie Thorsen to explore one Bauhaus object and develop an independent work of their own.

A show by the internationally renowned New York-based Icelandic artist Hrafnhildur Arnardóttir, aka Shoplifter, who creates installations from synthetic hair. The subtly humorous installations are massive, allowing viewers to enter them and to stroke the hair.

This is the first retrospective in the UK of the Egyptian-Canadian artist of Armenian origin, Anna Boghiguian (Cairo, 1946). Informed by her interest in philosophy and her continuous travels, Boghiguian’s work comments on the human condition through the perspectives of global trade, mass migration, colonialism and war. The exhibition will feature large-scale installations of cut-out paper figures, alongside paintings, collages and books, as well as components of the artist’s studio brought to St Ives. While addressing current global concerns, the exhibition resonates with the local context of St Ives as an artists’ community, and Cornwall’s industrial history in terms of seafaring and trade.

In the spring of 2019, the Kunsthal Rotterdam will be presenting ‘Trouble in Paradise’, an extraordinary selection of contemporary art works from the private collection of art collector Rattan Chadha (1949, Delhi), the founder of Mexx and the hotel chain citizenM. This private collection – known as the KRC Collection – will be presented at the Kunsthal to a wide audience for the very first time. Rattan Chadha has selected works of art that reflect on human inadequacies, respond to the state of our society and inspire a sense of commitment to the world around us. At the heart of his collection is the human condition, with art that gets under your skin. From sex, drugs and rock ’n roll to deep melancholy and abstraction. In short: ‘Trouble in Paradise’!

Discover the first major French retrospective devoted to Victor Vasarely. Explore the “Vasarely continent” with three hundred works, objects and documents. Stroll through a tour that is both chronological and theme-based, exploring all the facets of the rich and diverse work of the father of optical art and all the aspects of its production: paintings, sculptures, multiples, architectural integrations, advertising and early studies.

This exhibition showcases some of the most impactful photographs captured over the last 60 years. It includes many of his iconic war photographs – including images from Vietnam, Northern Ireland and more recently Syria. But it also focuses on the work he did at home in England, recording scenes of poverty and working class life in London’s East End and the industrial north, as well as meditative landscapes of his beloved Somerset, where he lives.​ Sir Don McCullin was born in 1935 and grew up in a deprived area of north London. He got his first break when a newspaper published his photograph of friends who were in a local gang. From the 1960s he forged a career as probably the UK’s foremost war photographer, primarily working for the Sunday Times Magazine. His unforgettable and sometimes harrowing images are accompanied in the show with his brutally honest commentaries. With over 250 photographs, all printed by McCullin himself in his own darkroom, this exhibition will be a unique opportunity to appreciate the scope and achievements of his entire career.

In 2019, as an exceptional cultural highlight, the Fondation Beyeler is mounting a unique exhibition devoted to Pablo Picasso’s masterpieces of his early Blue and Rose periods. This will be the most comprehensive presentation ever seen in Europe of Picasso’s paintings and sculptures from 1901 to 1906, each one of which is a milestone on the road to recognition as the twentieth century’s paramount artist. Picasso’s pictures from this period are counted among the most beautiful examples of modern art and are certainly some of the most valuable art works anywhere in the world.

Kunstvereniging Diepenheim and the Jindřich Chalupecký Society (Czech Republic) proudly present the group exhibition (Dis)connection, with installations, sculptures and video works by thirteen international artists. The exhibition brings together various artistic positions that are connected by shared concern: how can we live together?

How can a building shape our perception of events – and how can architecture, rather than words, be used to tell stories? Discover new monuments and memorials by celebrated British-Ghanaian architect, Sir David Adjaye OBE. Get a first peek at ongoing work and explore the influences behind the highly acclaimed Smithsonian National Museum of African American History and Culture in Washington D.C. and more. Find out more about all seven projects here

The Belvedere 21 is devoting a large solo show to Christian Ludwig Attersee (* 1940) with a focus on his early work. Featuring as yet little-known works, the show reveals how Attersee actively shaped and participated in the revolution in artistic production from the 1960s.

The group exhibition IPARTERV 50+ presents a selection from the latest (or, in case of concluded oeuvres, the last) works of the artists who were represented at the Iparterv exhibitions of 1968 and 1969. Additionally, the exhibition features works by contemporary artists reflecting on specific works by Iparterv-artists or the Hungarian neo-avant-garde in general.

An exhibition by the MAK, Vienna in dialogue with the collector Uli Sigg and in cooperation with the Kunstmuseum Bern and the Zentrum Paul Klee With CHINESE WHISPERS: Recent Art from the Sigg Collection a comprehensive exhibition on Chinese contemporary art is coming to Vienna. Uli Sigg has been following the development of contemporary art in China since the late 1970s. In the mid-1990s, he started putting together the world’s most significant and representative collection of Chinese art. A business journalist, entrepreneur, and Swiss ambassador to China, North Korea, and Mongolia (1995–1998), he had the chance to take a look behind the scenes of the social and economic developments dedicated to both tradition and the future, as China’s vision of a new Silk Road shows. Cultural and sociopolitical values form the frame of reference of the MAK exhibition. The museum creates a discursive platform by contrasting works from the Sigg Collection with objects from the MAK Collection. This interplay highlights China’s contemporary art production as well as its aesthetic or iconographic references. The historical object becomes a vision machine for the contemporary.

This presentation in the two vitrines in Untitled is the third in a series based on the rich exhibition archive of Witte de With. The long-term projectContemporary Arab Representations ran from 15 September 2002 until 2 November 2003.

Lawrence Abu Hamdan, a solo exhibition presents a new co-commission by the Beirut-based artist and ‘private ear’. Featuring three newly designed sound instruments, over ninety sourced objects and an audio work, Earwitness Theatre (2018) explores the political effects of listening through the hallucinatory world of the ear-witness. The new commission is presented alongside Abu Hamdan’s recent film Walled Unwalled (2018), which together develop the artist’s ear-witness investigation into the Syrian regime prison of Saydnaya, which the artist was invited to carry out in partnership with Amnesty International and Forensic Architecture, Goldsmiths University, London, as part of a broader enquiry. Abu Hamdan’s exhibition is commissioned and produced by Witte de With Center for Contemporary Art in partnership with Chisenhale Gallery, London; Contemporary Art Museum St. Louis; and the Institute of Modern Art, Brisbane. It will ibe presented at the partner venues throughout 2019.

Firelei Báez was born in 1980 in Santiago de los Caballeros, Dominican Republic, and currently lives and works in Newa York. With a convergence of interests in anthropology, science fiction, black female subjectivity, and women’s work, Baéz is interested in how culture and identity are shaped by inherited histories. Approaching selfhood as malleable, her work serves as a defense against culturally predetermined ethnic stereotypes as maintained and perpetuated by dominant narratives. Drawing attention to the incomplete nature of our communal stories, Baéz creates alternate environments in which cultures, disparate or alike, can commune. In this exhibition, a new body of work is presented featuring three paintings and a large-scale installation manifest from the artist’s research on the Haitian Revolution (1791-1804) and its enduring significance.

“I would prefer not to,” is a famed and much repeated line in Herman Melville’s Bartleby, the Scrivener: A Story of Wall Street (1853). Bartleby is the character of this fiction piece, first published in two-parts and later compiled as a single story. As an office desk worker who had worked in the dead letter office, which administers undeliverable mail, Bartleby sees no way out of the system. Dropping out of a system—for example, the one of the so-called art world—has been a recurring move for many who have little to no expectations of, or common beliefs in, a normative, and especially urban, environment. An exhibition with an audio script by Sarah Demeuse and Wendy Tronrud, as well as a soundtrack by Mario García Torres in collaboration with Sol Oosel explores various cases of dropping out. In a deserted gallery environment, illustrated through the color scales of dawn, morning, high noon, twilight, and night, two sound pieces are available. On the one hand, an audio-script is accessed through wireless headphones; on the other, a music soundtrack is featured as the exhibition’s lyrical ambience. The exhibition is considered an emotional cartography of dropping out. Demeuse and Tronrud’s script asks what force fields—economic, gender, race, […]

In her exhibition Pectus Excavatum, the American artist Bunny Rogers (b. 1990) is creating a landscape that subtly intertwines inside and outside, mountain peaks and ocean depths, thus exposing the framework of our conceptions of nature — as precise as they are oversimplified — in which knowledge and experience are inseparably linked with the imagination.

Today, hardly anyone knows who they were, even though they made a part of art history: artists such as Elena Luksch-Makowsky, Helene Funke, and Erika Giovanna Klien contributed significantly to Viennese Modernism and artistic trends that manifested after the First World War. To commemorate these artists, their art, and their emancipatory achievements, a long overdue retrospective has now been staged in the Lower Belvedere.

Czech visual artist Roman Kames will present the talk and exhibit A Far Cry, paintings inspired by his time spent in the mountains of Ladakh – the western Himalayas, at the Embassy of the Czech Republic on January 24, 2019, at 6 pm.

Today, hardly anyone knows who they were, even though they made a part of art history: artists such as Elena Luksch-Makowsky, Helene Funke, and Erika Giovanna Klien contributed significantly to Viennese Modernism and artistic trends that manifested after the First World War. To commemorate these artists, their art, and their emancipatory achievements, a long overdue retrospective has now been staged in the Lower Belvedere.

This is the first major exhibition of Pierre Bonnard’s work in the UK since the much-loved show at Tate 20 years ago. It will allow new generations to discover Bonnard’s unconventional use of colour, while surprising those who think they already know him. Born 1867, Bonnard was, with Henri Matisse, one of the greatest colourists of the early 20th century. He preferred to work from memory, imaginatively capturing the spirit of a moment and expressing it through his unique handling of colour and innovative sense of composition. The exhibition concentrates on Bonnard’s work from 1912, when colour became a dominant concern, until his death in 1947. It presents landscapes and intimate domestic scenes which capture moments in time – where someone has just left the room, a meal has just finished, a moment lost in the view from the window, or a stolen look at a partner.

An incongruous combination of dry humor, graphically explicit themes, and candy-hued, child-like forms seemingly built from the simple geometries of early video games pervades the digital animations of Wong Ping (*1984). For his first large-scale institutional solo show, the Hong Kong-based artist presents newly commissioned and recent videos, each within a new, specially conceived sculptural installation.

Daniel Dewar (b. 1976) and Grégory Gicquel (b. 1975) create sculptural objects that combine traditional craftwork, figurative motifs, and a wildly surreal sensibility. For their first institutional exhibition in Switzerland, the British-French artist duo presents an ensemble of newly commissioned and recently constructed wood pieces in which the fragmented bodies of humans and other mammals appear.

Nicolas Jasmin’s artistic approach can be understood as pictorial archaeology. Jasmin has developed a method that combines painting with laser technology. A laser beam works its way through layers of paint that have been applied to hessian and exposes them to the primer, thereby revealing traces of the formation process. Jasmin also practises pictorial archaeology in terms of his subjects: he finds them in art history, in pop and everyday culture – in short: in our collective pictorial memory – and recontextualises them. Wide-ranging series of works thus arise in which Jasmin repeatedly explores simple gestures and forms. In the process, he is guided by both prescribed rules and happenstance, always questing after the unconscious and enigmatic aspects of his pictures.

This display marks the bicentenary of the birth of George Eliot (1819–80), one of Britain’s most renowned novelists. Born Mary Anne Evans on 22 November 1819, she embarked on her career at the relatively mature age of thirty-two, initially working for the radical London periodical, the Westminster Review. In 1859, her first novel, Adam Bede, was published to critical acclaim and she went on to write six further titles, including The Mill on the Floss(1860) and Middlemarch (1871–2), celebrated for their realism and insights into the messy complexity of human relationships. Evans adopted the pseudonym ‘George Eliot’ to retain her anonymity. Since 1853, she had been romantically involved with a married man, the writer George Henry Lewes; although separated from his wife, their relationship was regarded as improper. Eliot also had concerns about her physical appearance, as her face had been described as ‘long’, ‘pale’ and horse-like. A pen-name could avoid drawing attention to both her awkward social position and unconventional looks, and allow her novels to be judged on their own merits. Eliot’s efforts to keep a low public profile extended to the visual image, this display’s central theme. At a time when the trade in popular portraits of celebrities was flourishing, she was […]

A tour-de-force multi-screen film installation, Manifesto draws on the somewhat anachronistic literary form of manifestos – declarations of belief usually combined with a call for action. Artist Julian Rosefeldt revisited dozens of 20th-century manifestos, examining their relevance and power today and blending foundational texts of art movements including Dada, Surrealism, and Futurism to create thirteen new texts written as monologues. Sole actor Cate Blanchett performs the monologues as different characters in diverse settings (…).

The Albertina houses one of Europe’s most important compilations of Modernist art in the form of the Batliner Collection. Its permanent display starts off with such artists of Impressionism and Post-Impressionism as Monet, Degas, Cézanne, Toulouse-Lautrec, and Gauguin. Further highlights include examples of German Expressionism, with the groups of Brücke and Der Blaue Reiter, and the art of New Objectivity, with works by Wacker, Sedlacek, and Hofer. An in-depth focus on Austrian art comprises works by Kokoschka and paintings by Egger-Lienz. The great diversity of the Russian avant-garde is represented by paintings by Goncharova, Malevich, and Chagall. The presentation is topped off by numerous chefs-d’oeuvre by Picasso, ranging from his early Cubist pictures and works from his mature period of the 1940s to superb prints that have not yet been exhibited and paintings from his experimental late period.

This presentation, as the second part of the celebratory exhibition to mark the Principality of Liechtenstein’s Tricentennial, is devoted to the Viennese watercolor from the Biedermeier era to realism. Nearly 100 of the most beautiful watercolors point to the vast knowledge underlying the princely collecting passion while providing a commensurately authoritative overview of the watercolor artistry of Rudolf von Alt and his time.

The collection of the Alte Pinakothek, one of the most significant in the world, encompasses over 700 artworks from the 14th to the 18th centuries. Here, milestones of the European painting tradition join to form a survey, in unique concentration, that spans the development from the Middle Ages to the Renaissance and Baroque, through to the late Rococo period. Experience encounters with works by Dürer, Raphael, Leonardo, Titian, El Greco, Rubens, Rembrandt, Boucher and their contemporaries. The museum, contracted by the Bavarian King Ludwig I, was built by Leo von Klenze between 1826 and 1836 in the Neoclassical style, which at the time represented a new and pioneering effort in European museum architecture. Originally, the Alte Pinakothek was intended to make sufficient space available for the art collection of the House of Wittelsbach. Over and above this, King Ludwig I sought to use the construction of the Alte Pinakothek as a means of providing the general public access to his collection. In addition to the permanent presentation of outstanding works from the golden ages of German, Flemish, Dutch, French, Italian and Spanish painting, a host of temporary special exhibitions, guided tours and events make a visit worthwhile.

Gustav Klimt created the famous Beethoven Frieze for the XIVth exhibition of the Association of Visual Artists Vienna Secession, which was held between April 15 and June 27, 1902. Conceived as a tribute to the composer Ludwig van Beethoven, the presentation epitomized the Secessionists’ vision of an encompassing synthesis of the arts. Twenty-one artists worked together under the direction of Josef Hoffmann. At the center of the exhibition, in the main hall, stood Max Klinger’s Beethoven statue. In addition to Klimt’s Beethoven Frieze, the show featured wall paintings and decorations by Alfred Roller, Adolf Böhm, Ferdinand Andri and numerous other artists. The stated objective was to reunite the separate arts—architecture, painting, sculpture and music—under a common theme: the “work of art” was to emerge from the interplay of the design of the rooms and the wall paintings and sculptures. Klimt’s monumental wall cycle was located in the left-hand aisle, which visitors to the exhibition entered first. An opening in the wall offered a view of Max Klinger’s Beethoven statue, hinting at the intended synergy of architecture, painting (Klimt’s Beethoven Frieze) and sculpture (Klinger’s Beethoven). With nearly 60,000 visitors, the XIVth exhibition was one of the Secession’s greatest public successes. It also proved crucial to Klimt’s […]

Explore today’s home through the prism of yesterday’s imagination. Are we living in the way that pioneering architects and designers throughout the 20th century predicted, or has our idea of home proved resistant to real change?

The first comprehensive exhibition on the subject in Israel The Russian Avant-Garde and Beyond explores avant-garde trends in Russian art during the 20th century, focusing on the emergence of the art movements that accompanied the historical and political upheavals in the country.

Koloman Moser’s oeuvre continues to exert a lasting fascination. As a universal artist Moser masters the disciplines of painting, graphic art, arts and crafts, and interior design as well as fashion and scenography. To an impressive extent Moser embodies the Gesamtkunstwerk or total work of art as advocated by the Vienna Secession. He is considered one of the most important pioneers of Viennese Modernism, one of the most influential artists of Viennese Art Nouveau, and is—alongside Gustav Klimt and Josef Hoffmann—one of the leading artists of Vienna’s artistic renewal. To commemorate the centennial of his death, the MAK is honoring Koloman Moser (1868–1918) with one of the most comprehensive solo shows to date on his great and visionary work. The exhibition delves deep into the oeuvre of this exceptional artist and demonstrates just how instrumental Moser was in influencing the search for a new, modern design vocabulary in fin-de-siècle Vienna. This is the first time that many of the 500 or so exhibits, largely taken from the MAK Collection, have been made accessible to the public. Structured chronologically and divided into five chapters, the MAK exhibition recalls every step of Moser’s unusual career: from painter to all-round designer and finally […]

Annette Kelm’s photographs show precise fractious motifs that quote the still life, object or studio photography, or the classical architecture shot, yet without ever fully complying with the conventions governing these genres. They flatten things into the plane or subject them to multiplication in series. Often captured in frontal views and in great detail, the minimal and yet visually opulent object worlds underscore their translation into the two-dimensional space of photography. Kelm’s conceptual approach, the exceptional sharpness of her images, and the neutral lighting lend the scenes rendered in her works a peculiar salience. The emphasis on the factual precludes any symbolism strictly speaking, yet the cultural or ideological burden with which certain objects are fraught is unmistakable. This focus on formal criteria and the eschewal of narration of any kind are also destabilized by the selective insertion of props that bear no readily recognizable relation to a picture’s central object. The exhibition at Kunsthalle Wien turns the spotlight on works in which architecture, design, or constellations of seemingly mundane objects are revealed to be visual manifestations of complex genealogies. The Versuchsanstalt für Wasserbau und Schiffsbau in Berlin, an iconic building that houses facilities for experiments in fluid mechanics and […]

William Shakespeare’s history plays have shaped perceptions of the Plantagenet kings for centuries, with a cast of characters ranging from the flawed Richard II to the heroic Henry V. The plays were not created in isolation, but drew extensively on the historical accounts that were published in the sixteenth century to justify and celebrate the position of the Tudor dynasty, fuelling an interest in English history that also encouraged the production of posthumous portraits. This small display examines the Tudor construction of Plantagenet portraits and their legacy in the popular imagination.

Jaume Plensa (Barcelona, 1955) is an artist of materials, sensations and ideas. His references include literature, especially poetry, music, religion and thought. He considers himself, above all, a sculptor, although his creative process has included multiple disciplines. His work addresses the very condition of being: its physical and spiritual essence, ontological awareness of present and past, moral codes and dogmas, and our relationship with nature. (…) The MACBA exhibition will feature works from the 1980s to the present, in a journey showing the dialogue that takes place between works that represent the human figure and those that are abstract. This tension is the thread that runs through the whole of his work, a corpus that highlights the strength of binomials such as weightlessness/compactness, light/dark, silence/sound, spirit/matter and life/death.